4 Early bird sessions (außer ) jeweils Mo., Di., Do., Fr., 9:15-10 Uhr no class and and (public holidays) Kontinuierliche Teilnahme über das gesamte Semester wird vorausgesetzt. A required condition for this practice is full participation over the whole semester. Sheena McGrandles / Ingo Reulcke / Britta Wirthmüller [Studio 9] Modul 1/2/3/4, 3 LP, 52 Unterrichtseinheiten Early bird sessions - No rise, no shine! (dt./engl.) These classes are a commitment to a short daily physically-focused offer throughout the entire semester. This 45 minutes class serves as a foundational preparation and thorough warm-up for the morning practice to follow as well as longer accumulation of practice. The class itself will be built upon a set of simple movement exercises that draw on principles and patterns such as: core to distal, horizontal to vertical, cross lateral, body half (homolateral) to name but a few. It is through this continuous doing of a set of exercises that we can establish a basis to attend to: the prevention of injury, development of individual body knowledge and awareness, increasing strength and flexibility, building stamina and working towards an articulated and informed body in movement/dance. The sessions will be delivered between, Britta Wirthmüller, Ingo Reulecke and Sheena McGrandles. Full commitment to the classes over the entire semester is required, so wake up and catch the early bird tweet tweet! 4/72

5 Practice jeweils Mo., Di., Do., Fr., 10:15-11:45 Uhr Kontinuierliche Teilnahme über 4 Wochen wird vorausgesetzt. A required condition for morning practice is full participation of 4 weeks. Studierende erhalten individuelles Feedback (15 Minuten) in der 2. und 3. Woche der Lehrveranstaltung. Parallele HZT Drop-in Klasse mit wechselnden Lehrenden siehe Drop-in im Channel 4 KVV. Hana Erdmann Modul 1/2, 2 LP, 14 Unterrichtseinheiten Kundalini Yoga / Exaltation Through the Voice (engl.) [St. 10] This class focuses on strategies for centering and energy cultivation, and on physical, mental and emotional maintenance. We find support and strength through the voice as a companion of focus and endurance. We practice Kundalini Yoga, as taught by Yogi Bhajan, and look at its application to contemporary dance training and its relationship to other body/meditation practices. Kundalini Yoga enables a specific technology that combines both seated and dynamic meditation, breath work, yogic postures, chanting, and sound. It focuses specifically on the health of the spine to strengthen the nervous system and balance the glandular system, while facilitating a general feeling of expansion and belonging. Kundalini Yoga wants you to have an exalted experience of yourself and wants to provoke and exercise your perceived limits and capacities. We consider this relationship to transformation as a practical metaphor for work and play in daily life. + Feedback: 15 minutes per student Britta Wirthmüller Modul 1/2/3/4, 2 LP, 14 Unterrichtseinheiten Continuity and disruption (dt./engl.) [Studio 11. Außer 23. Und 24.4.: Studio 3] DE In dieser Tanzklasse setze ich einen Fokus auf die Kontinuität einer Bewegung und ihre Unterbrechung. Wir werden mit kürzeren Bewegungssegmenten durch den Raum beginnen, um an Erdung, Verbindung, Bewegungsfluss, Gewichtsübertragung, Spannung und Entspannung zu arbeiten. Im Verlauf der Klasse werden wir aus diesen Segmenten komplexere Bewegungsphrasen entwickeln und erforschen, wie sich diese durch Tempi-, Richtungswechsel und Akzente variieren lassen. Die Unterrichtssprache ist hauptsächlich deutsch. ENG In this dance class I will focus on the continuity of a movement and its disruption. We will start with shorter movement segments through space, in order to work on being grounded, connection, flow of movement, transfer of weight, tension and release. Over the course of the class we will develop these segments into more complex movement phrases and we will explore how these can be varied through changes of tempo, direction and accents. Teaching language is more German than English. + Feedback: 15 minutes per student 5/72

7 Practice jeweils Mo., Di., Do., Fr., 10:15-11:45 Uhr Kontinuierliche Teilnahme über 5 Wochen wird vorausgesetzt. A required condition for morning practice is full participation of 5 weeks. Studierende erhalten individuelles Feedback (15 Minuten) in der 2. und 3. Woche der Lehrveranstaltung. Parallele HZT Drop-in Klasse mit wechselnden Lehrenden siehe Drop-in im Channel 4 KVV. Jan Burkhardt Modul 1/2/3/4, 3 LP, 20 Unterrichtseinheiten Bartenieff Fundamentals into dancing phrases (engl.) [St. 11] Every day we start with simple exercises and principles based on early childhood developmental movement and perception, mostly on the floor, in order to work ourselves towards more complexity and level change. This will allow us to enhance functional efficiency and differentiation as well as deeper understanding of our own patterns, limitations and potentials. At the end of each class we let the material become footage for dance phrases (partly given by Jan, partly composed by yourself) and add on to those throughout the weeks, so we can experience longer and longer rides for our senso-motorical system. + Feedback: 15 minutes per student Nik Haffner Modul 1/2, 3 LP, 20 Unterrichtseinheiten Dance Movie Imitation (dt./engl.) [St. 12. außer St. 3] This is a morning class that works with learning dance sequences to an extend that you can move freely within the sequence the goal is to dance. We will work with dances taken from films (for example from the film "Bande à part from 1964 by Godard), as well as with dance sequences from contemporary dance repertoire (for example Eidos Telos from 1994 by Forsythe). We will also work with inserting improvised parts into a dance in the manner of the sequence. Another approach will be to learn a dance from a sequence of photos, bridging the gaps by making up movements that connect one still image with a next image. The focus of this offer lies on moving in a playful variety of different dance-styles, less on perfection of each original step. Teaching language is more German than English. + Feedback: 15 minutes per student 7/72

8 Workshop Jeweils Mo., Di., Do., Fr., Uhr / Mi., Uhr individuelles Coaching BA 1., 2. & 3. JAHR Sheena McGrandles, Constanze Schellow Modul 8/9/10/11, 4 LP 12 Unterrichtseinheiten Projektarbeit und BA Festival-Workshop (engl.) [kein Studio gebucht] This workshop supports students with the development and implementation of the BA Festival. It also cultivates their artistic work and practices through considering and reflecting on the diverse modes of publishing, and making public at play in curating and bring work into a festival format. Over these three weeks students will continue to work on their own artistic projects in parallel to different functions of artistic and curatorial practices. These include: organizing, planning, curating, public relations, research, dramaturgy, feedback, documentation, music / sound, light, stage, costume, technical support, and communication. The workshop manifests as a festival with varying degrees of 'public', exposing a broad range of artistic works from BA HZT Berlin. Florian Feigl, Litó Walkey, Britta Wirthmüller are available for coaching sessions by individual appointment during the festival workshop. HZT-SNDO Ponderosa 2014 Re-connecting Friday, , 10-12:30h [St. 11] BA 3. JAHR & SNDO 4 Litó Walkey, Katerina Bakatsaki Festival Documentation and Feedback Day [St. 14] Saturday all day (preparation) & Sunday , 12h - 16h (exhibition/presentation). Litó Walkey, Sheena McGrandles, Constanze Schellow For this weekend students will occupy studio 14 with documentation of the festival. Exhibition, Performance and Feedback modes will be activated amongst students and staff to reflect on what occurred and what continues. Parameters for working towards these traces will be suggested by Litó, Sheena and Constanze during the festival. 8/72

9 Workshops Jeweils Mo., Di., Do., Fr., Uhr / Mi., Uhr individuelles Coaching no class and (public holidays) BA 1. JAHR & 3. JAHR Jeanine Durning Modul 1/2/3/4/8/9, 4 LP, 12 Teaching Units What we do when we do the thing we do before we know what we are doing: Approaches to Creative Practice (engl.) [Studio 11] The idea is not the thing. Each of us is an ever-shifting complex of radically divergent memories, desires, impulses and perceptions. This is a lab for cultivating our multiple considerations on multiple levels, put into conscious action and practice. We will support our questions as potential proposals for doing. Accepting not-knowing and the notyet as generative states, we ll sharpen our responsiveness to materials as they emerge, then fluidly develop strategies and systems for immersion in and reflection of the structures inherent to these materials. Through moving, speaking, writing, drawing, scoring, directing, proposing, watching, performing, sharing, discussing and listening, we ll generate, reconsider, translate and reinterpret: action, affect, content and context. Through daily performance of our materials, we will learn to be in dialogue with our making. At its core, our work is the willingness to think/move/imagine in unanticipated directions. BA 2. JAHR Litó Walkey / Katerina Bakatsaki Modul 1/2 1LP & 7/8/9/10/11 4 LP, 22 Teaching Units & Introduction: Thursday, , 12-13h, SNDO-HZT in Ponderosa (engl.) This is a full-time residency at Ponderosa in Stolzenhagen (http://www.ponderosa-dance.de/). It is the initial and most extensive point of exchange that sets the ground for the series of encounters organised between HZT BA 2 and SNDO 3 students until graduation. Katerina (SNDO staff) and Litó will teach physical, compositional and devising practices and facilitate modes of time organisation, writing, documenting and reporting. Activities will include student teaching, sharing existing performances, discussions, feedbacks, one-on-one meetings, making work together and doing things together, like cooking and gardening.litó's teaching will focus on reading, in the sense of 'reading performance to inform its teaching, learning, or evolving' and 'performing reading considering how the language that directs or indexes performance is itself already performance, and how we can bring this to the surface'. Katerina's teaching is influenced by Body Weather training and physical performance practices. Residues at HZT (engl.) This third week will engage a daily practice of performative documentations informed by SNDO-HZT in Ponderosa. Please note: Participation fee 40 Euro Sign-up deadline: /72

10 Workshops Jeweils Mo., Di., Do., Fr., Uhr / Mi., Uhr individuelles Coaching Florian Feigl & Dr. Johannes Lothar Schröder Modul 5/6/7 oder SG, 2 LP, 8 Unterrichtseinheiten Echoes from the Black Mountain (dt./engl.) (Studio 11) Black Mountain College those words, the name of a school, appear to be an almost mythical promise. And indeed in its little more than twenty years of existence it was first the meeting point of European avant-garde and US American scholars, researchers and artists in their search for new ways of education. From the group of students, teachers, scholars and artists who visited, lived and worked at Black Mountain College key protagonists in arts and sciences of the second half of the 20th century emerged working in fields such as avant-garde music, dance, visual arts, architecture, poetry, pottery and weaving. However, besides the anecdotes, heroic tales and phantasies related to Black Mountain College the question to ask is how an educational institution understood as a specific kind of social construct should look like, what structures, methods and dynamics need be developed and accommodated for a contemporary liberal arts education. In the workshop we will learn in research and practice about works and artists of historic avant-garde. The other important perspective of this offer is to critically review and understand structures and methods employed in the present situation of teaching and learning (and I would add living) we are all in as a group and to develop experimental ways of learning for now. In other words to gain an understanding of what we are doing, what we want and where that possibly can lead. Main body of reference, point of departure and source material for practical work will be a unique catalogue of artifacts and residues from the original Black Mountain College Eva-Maria Hoerster and guests Modul 5/6/7/8/9, 4 LP, 12 Unterrichtseinheiten Wedding (Considering) Sites and Communities (dt./engl.) [Studio 12] ENG What are the key questions, concerns, materials, and methods to use in the creation of place/site & community specific artworks, and what transformations occur with regards to the conventions of theatre and dance? This workshop will explore the social, political and aesthetic implications of these topics, starting with observing and identifying places and people in Wedding (physical locations, movements, behaviours, structures, relations) what seems interesting or relevant, and why. We will then explore and develop different forms of artistic interaction with these places and people/communities, addressing questions such as: what to consider when working with specific local contexts and in communication with the local environment? What kind of projects can arise? What effects might occur? Artists and artist collectives from different disciplines like Eleonora Fabiao, Jo Parkes, Gabriela Vaz Pinheiro, Folke Koebberling + Martin Kaltwasser, Martin Nachbar, Dries Verhoeven, Ligna, Atlas, cobratheater.cobra (to name a few) engaged with this topic in diverse ways. We will look at and analyse some of these works as examples. Some of these artists, e.g. Nachbar & Parkes, will be invited into the seminar to talk about their work and share their experiences. A significant amount of time will be dedicated to developing projects yourself. Testing ideas and sketches, then working on one or several projects alone or in small groups. Regular discussions and feedbacktalks about the work-progress and evolving topics will take place. Furthermore, we will look across the history of the field, and read and 10/72

14 interviews with artists, organisers and curators from the Berlin dance scene. The following questions will be starting points for our research: Which developments took place in the Berlin dance scene as of the 1980s? What were the topics and questions choreographers were busy with? How did contemporary dance start to change in this period and how do theses changes still reverberate today? In how far is also the attempt to dance education, as practised by the HZT Berlin, linked to developments since the 1980s? We will also discuss how the interviews can be documented in a way that they can be made public. The seminar will be followed by a 4 days workshop in August, in which students will work on the post-processing and contextualisation of the interviews for publication. Preparation for the seminar: Attendance of one of the performances of Anna Till's and Christina Ciupke's work Undo, redo and repeat, , 20h, Sophiensaele Berlin. References Mime Centrum Berlin: Krokodil im Schwanensee/Akademie der Künste: Anna Till/Christina Ciupke: Undo, redo and repeat: 14/72

15 Workshop & Excursion CAMPING (engl.) , , , 13-17h Workshop [Studio 9] , CND - Centre National de la Danse, Paris Departure: ; Travelling back: Introduction meeting: , 10-11:30h, Rm 102 Britta Wirthmüller Modul 8/9, 3 LP, 15 Teaching Units Max. 5 places, application procedure will be presented at intro meeting Application deadline: ENG For the first time, the CND Centre National de la Danse organises an international choreographic platform under the name Camping in Paris from 22 June to 3 July. In the frame of Camping workshops, trainings, lectures, discussions and performances will be presented. Besides the HZT Berlin, other international study courses and educational programmes for dance, choreography, performing arts, visual arts and graphics are invited: P.A.R.T.S (Brussels), London Contemporary Dance School (The Place / London), École nationale des Beaux-Arts (Paris), Ecole de Recherche Graphique (Brussels), The Factory, School of Performing Arts (Lausanne), Angewandte Theaterwissenschaft (Giessen), École nationale supérieure d Arts de Paris-Cergy, Ex.e.r.ce Centre chorégraphique national (Montpellier Languedoc-Roussillon) and THE ARTS & CO / Dance Lab (Séoul). In the mornings there is a studio available for each institution, where students are expected to offer trainings for one another. Workshops, of one or two week(s), by the following artists will take place in the afternoons: Simone Forti, Eszter Salamon, Miguel Gutierrez, Anne N Guyen, Jennifer Lacey, Noé Soulier, Rabih Mroué, Bertwin D Souza. Performances of the institutions, panels and exchange meetings will take place during the evenings. Students have the possibility to present artistic work or work-in-progress in a studio or on stage. Part of the excursion is a three day preparatory workshop, in which the students will conceive trainings and possible presentation formats. For the realisation of these formats, additional time and workload should be calculated. Costs: Travel costs (air flight: Berlin Paris Berlin) and expenses for dinner have to be covered by the students. Accommodation, breakfast and lunch as well as the participation in workshops and other events of Camping are included. Application deadline: Brochure of Camping: https://drive.google.com/a/hzt-berlin.de/file/d/0b45cryh22cthunlbbk44vti4a1e/view?usp=sharing 15/72

19 Coaching & Mentoring BA 1. JAHR 1 Einzelstunde studienbegleitend mit Britta Wirthmüller oder Florian Feigl 7 Einzelstunden mit HZT-Lehrenden oder Gast-Lehrenden BA 2. JAHR 1 Einzelstunde studienbegleitend mit Litó Walkey 5 Einzelstunden mit HZT-Lehrenden oder Gast-Lehrenden 12 Mentoring-Stunden BA 3. JAHR 1 Einzelstunde studienbegleitend mit Britta Wirthmüller oder Florian Feigl 3 Einzelstunden mit HZT-Lehrenden oder Gast-Lehrenden 10 Mentoring-Stunden 4 Stunden Betreuung der Bachelorarbeit Einzelunterricht studienbegleitend / Coaching study related Dates in Google-Docs (sign up by ), Coaching for BA 2 will happen partly during Ponderosa workshop Britta Wirthmüller, Litó Walkey, Florian Feigl Study related coaching is a teaching session that happens once a semester with a member of the BA team. In this session you and the team member take a look at the courses you attended or will attend in the current semester and you discuss and reflect how this input connects to your personal study trajectory. Einzelunterricht / Coaching Termine nach Vereinbarung mit HZT-Lehrenden und Gast-Lehrenden / Dates by appointment with HZT teachers and guest teachers Coaching is a one-to-one teaching or a teaching session in a group with up to four students. It is a possibility to have a more in-depth teaching session with teachers you are at the moment studying with. You can use coaching to address individual questions that came 19/72

20 up in the practice, workshops or seminars. You can also use coaching to deepen some aspects that came up with one of your teachers, get additional input on a topic/question that interests you. You can use coaching to speak with a teacher about connections from the taught input to other concerns related to the curriculum. Mentoring Termine nach Vereinbarung mit der/dem MentorIn / Dates by appointment with the mentor Mentoring is a personal development relationship between you (mentee) and a mentor. A mentor may engage with you on a specific project, e.g. semester presentation, final work or advise you more generally on your process as a student. To be mentored means to be supported, guided and challenged by another person, be that an artist or specialist whose field/profession is relevant to your own artistic practice and trajectory. It is a student-led consultation, in which you have the opportunity to bring someone from the outside in, over a longer period of time (at least one semester), to intensively engage in a shared reflection upon your work. The forms of this relationship, which you develop together can be varied and multiple and should be understood as an exchange, rather than a service for you and your work. As the student you are the initiator of your meetings, while the mentor is there to offer a different perspective/angle on your work through dialogue and exchange. Your meetings can be used in a range of ways, for example, to discuss questions, research and specify interests connected to your work. To share a reading and writing practice on your work or on that of your mentors or others. To gather working methods and principles that support your practice or discuss the modes and methods that your mentor is invested in. The time that you spend together is not always limited to the studio, but should be used in a way that expands, directs and challenges your ways of working. Your meetings and the formats in which they take are very much connected to your mentors availability and resources that they can share at that specific time. This should also be taken into consideration when choosing who to work with. BA , 13-17h: Introduction to mentoring with Constanze Schellow [Seminarraum 2] 20/72

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